Working musicians: exploring the rhetorical ties between musical labour and leisure

Abstract

This essay explores the implications of a common but rarely examined trope about music, leisure and labour. The idea that music should appear effortless – that its execution should not require work – has shaped critical and consumer interpretation in a wide variety of historical settings. The trope of effortless music suggests that music is an outgrowth of one’s individual genius, heritage or social identity rather than a product of one’s labour. Close attention to the work involved in learning and performing music can expand our understanding of the multiple ways in which music creates value, and the historical ways in which the dialectic between conception and execution in modern capitalism have paralleled the distinctions between composition and performance in the Western music scholarship. Two historical case studies from the late nineteenth and early twentieth‐century US provide the evidence for my argument. I examine the overlapping discourses of musical effort and work in the world of female parlour pianists in the middle‐class home and among academic folksong collectors and some of the southern musicians whom they courted as informants. I conclude by suggesting what music history might look like if we chose to place the work of learning and performing music at the centre of the story.